New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-05-30
HENRY IRTIyGS RELY TO- TO ~ C2G2gELiS


e, some years since haI the privilege OF ottng in
mis- review few casual observations connected with
snenre and had 10 personal drift My renewal OF them
now IA suggested ~ the article which NJ coqneHn mas
contributed 10 the May number or Jumpers Hdgd,iie
ana by certain personal considerations which are nn In
eyable result when player has undertaken to cri
cise his fellows As rulc this kind OF review Is much
TO be deprecated for Il Is easy TO conceive that II every
artist we're 10 rush into print WIN ms opinions OF ms
compeers there would be dsagreeaDo rise III the social
ssn. to be- deeprooted conviction In his mind
that the qualities which enable an actor 10 observe GER
tain types IN society and emDody their salient features
the heights OF the poetic drama But the most old feat
IRE OF this assumption IL his labor To prove that an ACTOR
only must study charaeter Dut must give vac , ,
fresh impersonation my begin inc world WIN r
ist "0 with an individuality so marked as
81 Coquens should imagine that his identity can be en-
trey lost singular IL must be granted that tins
art Of transformation In part IL of great Import
ance in that large range the drama where NJ Coquen
is quite home and where the pnrey miineuc faculty
has iIs chief significance When, however, We are asked
to believe that the representation OF great tragic char
aci er depends the stimulation OF physca apparatus
which ne actor has not exhibited In any other part We
must refuge in respectinl lhcfeinlty IL wVnll
ton on the significance Of wrinkle, had lost sght OF the
fact that In tragedy and the poetic drama Is rather the
soul OF artist Than his form which Is moulded by the
When NJ Coqueln maintains that actor should
exhibit real emotion ho Is treadlng Old and DIS
puted ground. II matters little whether the player
sheds not so long as he can make hls audi
ence shed them, but II tears can be- summoned at
hIs viii and subject TO his control II Is true art 10
utilize such a power ana happy Il the actor whose
| seusibity has ut great a dcllcacy and dis
cpnne In this respect the actor is like the orator
Iionuence is all the more moving when 10 Is ami
| mated and directed by n line ana subtle sympathy,
which Affects the speaker though II does hot master MN
IL Is true that Mephis0pheles need not be a hand
some demon, but why should hump be the symbol OF
cynicsml Some Of the most exquisite spirits that ever
reflected the radiance OF divine love upon earth have
| been shrouded in ugness! The greatest iniainy In
Italian history smiles down upon in old picture gal
ere from the perfection OF manly dignity and the most
/ delicate loyelncss OF woman.
NJ Coquen divides actors into two classes those VINO
densy themselves with their characters and those VINO
dentS their characters with themselves ENccllent rs
| this definition is, IL is somewhat misleading NJ Coquenn
! tells us that when he played IhouveDin 1t was bis
greatest difficulty repress his own di0sy Ills
study was eface Coqueln entirely-.voice. WAX,
| gesture and present only the man he conceived
Ihouyenin 10 be- 49,. ,.,, g, ,
This is very good far as II goes; but why should Ed
win Booth when lie acts the part or Hamlet try 10 for
get that physically speaking, he vas ever Edwin Booth
His mind Is absorbed In tue characterize looks and
speaks melancholy tie passion the poetry ana the
satire OF this supreme creations yets he 10 De told mat
N in some detail OF aspect gesture or movement he re
mind the audience that he stl be EDWIN Booth ne II
making the character part OF hasel Instead OF osnl
his own nature for the time In the world OF Imagination